Evaline Ness and Dave Mckean booklet

EVALINE NESS

DAVE MCKEAN &

MAIJA RAUTENBERGA TANYA VELLA

CONT

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Dave Mckean Probably best known for his cover illustrations of the Sandman series, Dave Mckean is a true artist who continues to reinvent himself practicing illustration, drawing, collage, films, music, comics, photography and graphic design and has a long standing collaboration with writer Neil Gaiman amongst others. Their first joint project, Violent cases (1987) was followed by Black Orchid (1988) Signal to Noise (1990) Cages (1990-1996) and the Wolves in the Wall to name a few.

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Evaline Ness Evaline Ness was an American children books’ illustrator and writer, known for her experimental and inventive approach. She worked in a wide variety of media: woodcut, ink drawing, cut and paste techniques, monoprint, torn paper, paint are among them.

Ness was praised by critics for her inventive illustrations and her ability to work in a wide variety of media. She won many awards as an author and illustrator for children, including a Caldecott Medal for Sam, Bangs, and Moonshine in 1967.

page 8 Bibliography and references

Dave McKean Probably best known for his cover illustrations of the Sandman series, Dave Mckean is a true artist who continues to reinvent himself practicing illustration, drawing, collage, films, music, comics, photography and graphic design and has a long standing collaboration with writer Neil Gaiman amongst others. Their first joint project, Violent cases (1987) was followed

by Black Orchid (1988) Signal to Noise (1990) Cages (1990-1996) and the Wolves in the Wall to name a few.

Mckean places great emphasis on the mood he wants to convey in his choice of techniques and by his own admission has been heavily influenced by abstraction, expressionism and surrealism. The layers within us, our multiple identities are portrayed in duality styles in Coraline and layered masks in Conspiracy. For “a more symbolic approach” he suggests “maybe collage, or paint, or digital“ techniques (www.davmckean.com).

His website is extremely informative on all aspects of his practice and answers to questions from budding practitioners. When writing Varjak Paw with JF Said he explains that he never laughed as much in his life, a lesson to all of us that creativity should be fun Mckean’s is a perpetual journey of self- discovery and its challenges. He inspires me through his dark side while using humour verging on burlesque to ease tension; how delightful to discover that his Wolves in the Wall only come out to play music and leave a veritable mess before they settle back into the wall; initial hints of blood burst with comic ochre relief. His Looking for the Girl pokes fun at the photographer who cannot see the girl/wood for the trees, despite the obvious clues. He intertwines the figures through the staircase and shoulder support, a technique used equally successfully in Virus and Blue Tree.

I have long standing interest in collage, nature’s fragility and man’s contribution to its destruction so discovering Mckean has been very inspirational in transforming found objects into semi human forms as in his magnificently portrayed powerful vector Phoenix, a journey through space discovery using semi human figures. The Nike Train advert is a powerful disturbing symbiosis between man and machine: man in the saddle powers the engine but is strapped and pinioned into gear – none other than a modern galley slave to the machine.

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The best description that sums up everything I admire in Mckean comes from Neil Gaiman:

“...some artists are content to rest on their laurels (and Dave has shelves-full of Laurels, including a World Fantasy Award for best artist). It’s a rare artist who is as restless and as enthusiastic as he was when he was still almost a teenager, still questing for the right way to make art”.

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COPYRIGHT LAW

Having title to copyright over an artistic creation implies protection of the holder of the title against all sorts of copying, distribution and communication to the public for a specified period of time, generally for 70 years after the lifetime of the artist, though in some cases can be for 50 (for broadcasts) or 25 years (layout of published editions of written dramatical and musical works from when first published) respectively. Special duration rules apply to Crown Property and include War artists with protection for published works at 50 and unpublished works extending for 125 years.

Since protection is with the holder, the creator of a work does not always have copyright if he has passed such right on to another person. Where the copyright holder cannot be traced the law refers to an “orphan” work and records need to be kept to show that proper efforts (due diligence test) were made to trace the owner. Although each country’s laws achieve different levels of protection against copyright infringement, minimum standards are achieved internationally between signatories to the Berne Convention and, for EU directives, after transposition into the national law of EU Member States.

Copyright in the United Kingdom is governed by The Copyright, Designs and Patents Act 1988 as amended. Infringement results in civil or criminal penalties. Protection covers original works be they literary, dramatic, musical or artistic, film, sound recordings, broadcast, typographical arrangements and databases. The only exceptions allowing copying of the copyrighted work without the permission of the person holding the copyright protection are so called “fair dealing“ exceptions. These refer to reporting of current events, criticism and review, non-commercial research or private study quotation and parody, caricature and pastiche as long as the copying was fair and sufficiently acknowledged, unless it was impossible to do so. Although the law does not define “fair” certain factors can help to determine whether an action is fair or not e.g. where use deprives the copyright owner of their economic benefit; where the quantity of copyrighted work copied and used without a licence is far beyond the scope of declared use, proportionality in quality and quantity, whether the principal purpose of the unlicensed use is for advertising rather than reviewing the work.

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New exceptions for UK museums, libraries and archives were introduced under a new UK law of 1 June 2014. Limited copies of works can be made by these institutions without asking the permission of the copyright holder, for preservation purposes, for non-commercial research private study and teaching, so long as use is fair and acknowledged, and for informing disabled persons of collections where commercial suitable copies are not available. In order to play safe it is considered best practice to acknowledge the name of the artist, the title of a work, the name of the copyright holder, include a © sign, name of a director if it refers to a film.

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EVALINE NES Evaline Ness was born April 24, 1911 in Union City, Ohio. She attended Ball State Teacher’s College, and studied art at the Chicago Art Institute, Corcoran School of Art in Washington, D.C., the Art Students League in New York City, and the Accademia di Belle Arti in Rome (Free Library of Philadelphia, 2019).

Throughout her long and prolific career, Evaline Ness illustrated many authors’ books and was noted for her ability to work in a variety of media and her innovative and unique illustrations, that inter-weaved text and pictures to create a story, that captured a young child’s attention and imagination. This talent is especially evident in her own written works with their girl protagonists and subtle stories that have a backdrop of “feminism” and present “real” characters learning about all of life’s pleasures, problems, and pains (Free Library of Philadelphia, 2019). In 1967, Evaline Ness received the Caldecott Award for Sam, Bangs, and Moonshine, the story of Samantha a little girl whose penchant for telling lies or “moonshine” leads her into trouble and ultimately learns what is “true” and responsibility for one’s words. Evaline Ness also displayed her artistic innovation in her cut-out works for children such as Victorian Paper House To Cut Out and Color, and Four Rooms From The Metropolitan Museum of Art To Cut Out and Color. These works allow children to create their own art work using patterns designed and created

by Evaline Ness, based on a variety of different types of houses and rooms (Free Library of Philadelphia, 2019).

Ness was praised by critics for her inventive illustrations and her ability to work in a wide variety of media. She won many awards as an author and illustrator for children, including a Caldecott Medal for Sam, Bangs, and Moonshine in 1967 (Free Library of Philadelphia, 2019).

From the time she was young she was interested in recording stories, and she searched through magazines to find pictures to go with them. But it wasn’t until after she’d established a career as a commercial artist and instructor at Parsons School of Design that she turned to children’s book illustration (Society of Illustrators, 2017).

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Evaline Ness used woodcut, mixed media and experimental materials and methods to push the boundaries of the printed page, interweaving text and pictures to capture the reader’s attention and imagination (Society of Illustrators, 2017).

Ness’s designs for books display her trademark inventiveness, using cut and torn paper, collage, paint, woodblock printing, coloured pencil, pastel, and charcoal in vivid, striking compositions that convey the excitement and adventure.

Evaline Ness continued to write and illustrate children’s picture books through the 1970s and early 1980s, and died on August 12, 1986 (Free Library of Philadelphia, 2019).

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As a student of an Illustration Course, I am surrounded by images, produced by other artists, mostly while making my research. At the same time I am creating my own illustrations, designs, layouts, web content and software. So, question of Copyright interests me from different perspectives: from the point of view of a person, who is using images, created by others and from the point of view of a creator.

To make thing clearer I have made several notes on the subject from the creator’s point of view: 1

What counts as my intellectual property? It is something I physically create, not just an idea. So, illustrations I created, designs, web content and software - all are my intellectual property, usually if it isn’t part of my work while I am employed by someone else.

What is a Copyright? Copyright act as a protection for

my work (intellectual property, but not the shapes of the objects) and do not allow other people to use it without my permission. It works automatically — no application or fee is involved.

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Terms vary for a different kinds of creative works: for artistic it is a lifetime plus 70 years, for typographical arrangement or published editions it is 25 years from the publication year.

Marking my work with my name, creation year or copyright symbol doesn’t give any additional protection and not obligatory. I myself responsible for defending my copyright against infringement.

Licensing, selling or transferring. I can license the use of my work, registering it with a licensing body. I can also sell or transfer my copyright, signing an assignment. I still have ‘moral right’ to be identified as an author of my work and object to changes made to my work, as well as to object to ways the work is presented. However, I can also waive my moral rights.

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What if my work is used without permission? Firstly,

I should contact them and politely ask to stop or to make a deal. This way usually is cheapest and fastest. Secondly, I can use a mediator (for example, there is a mediation service in the Intellectual Property Office). It is cheaper and quicker than legal actions. Thirdly, I can take legal actions. I am expected by a Court to have tried other ways to resolve the matter before filing legal proceeding.

“Rather than imposing limitations, the techniques with which she is always experimenting open new dimensions.”

Ann Durell, the editor of Sam, Bangs, and Moonshine (Free Library of Philadelphia, 2019)

What is fair dealing? Copying parts of copyrighted works are allowed for the purpose of research, private study, examination, criticism or review, as well as news reporting and some other cases. Still, several conditions should be maintained: particular purposes, acknowledgment of the source of the material, and so on.

NOTES ON COPYRIGHT 7

Bibliography and references Dave Mckean: 1. Franklin, Dan (2015) Portraying Psychological Angst: Dave McKean Interviewed , https://thequietus.com/articles/17626-dave-mckean-interview [accessed 28/02/2019 ] 2. Gaiman, N (2003) Cool Stuff & Things About Neil Available at: http//:journal.neilgaiman. com/Journal [accessed 27/02/2019] 3. Mckean, Dave official website. Available at https://www.davemckean.com/ [ accessed 24/02/2019] 4. Dave McKean on Paul Nash (2016) ‘The trenches completely changed him’. Available at https://www.tate.org.uk/art/artists/paul-nash-1690/dave-mckean-on-paul-nash-trenchescompletely-changedhim [accessed 27/02/2019] 5. Pedler, Martin 2010 An Interview with Dave Mackean Available at: http://www.bookslut.com/features/2010_10_016702.php [accessed 26/02/2019] 6. https://www.lambiek.net/artists/m/mckean_dave.htm [accessed 27/02/2019] 7. https://www.dccomics.com/talent/dave-mckean [accessed 27/02/2019]

Evaline Ness: 1. Free Library of Philadelphia, 2019. Final art for Coll and His White Pig book jacket [Online] Available at: https://libwww.freelibrary.org/digital/item/ness00021 [Accessed: 27.02.2019] 2. The Cleveland Memory Project, 2019. Evaline McAndrew, Mrs. Eliot Ness II, Hotel Westlake [Online] Available at: http://images.ulib.csuohio.edu/cdm/singleitem/collection/press/id/103/ rec/3 [Accessed: 26.02.2019] 3. Society of Illustrators. 2017 The Original Art Lifetime Achievement Award: Evaline Ness.

[Online] Available at: https://www.societyillustrators.org/evaline-ness [Accessed: 26.02.2019] 4. University of Minnesota Libraries, 2019. Women Artists: Evaline Ness. [Online] Available at: https:// www.continuum.umn.edu/2018/06/women-artists-evaline-ness/ [Accessed: 26.02.2019] 5. Free Library of Philadelphia, 2019. Evaline Ness Papers. [Online] Available at: https:// libwww.freelibrary.org/collections/finding-aids/Ness [Accessed: 27.02.2019] 6. Copyright witness Ltd. 2000-2019, Copyright Information. [Online] Available at: https:// www.copyrightservice.co.uk/copyright/ [Accessed 01.03.2019] 7. UK government, 2019. Intellectual property: Copyright. [Online] Available at: https://www. gov.uk/topic/intellectual-property/copyright [Accessed 03.03.2019]

Illustrations by Evaline Ness for “Evaline Ness” article: 1. Black, A., 1973. The Woman of the Wood: A Tale From Old Russia. New York: Holt McDougal.

2. Caudill, R., 1995. A Pocketful of Cricket. New York: Henry Holt and Company, Inc. 3. Ness, E., 1971. Sam, Bangs & Moonshine. New York: Macmillan Publishers.

4. Ness, E., 1971. Sam, Bangs & Moonshine. New York: Macmillan Publishers.